Previous Next September 20, 2023 WRITTEN BY: ADRIANO Every cinephile has a story about when they fell in love with movies. For me, my passion started with comedies because laughter has been a source of endless relief my entire life…and, in my humble opinion, the 2000s is the Golden Age for comedy movies. Admittedly, recent films like Bottoms , Bros , and Booksmart have come close to replicating the magic of that era, to varying degrees of success, because they understand what made comedies from the 2000s, as well as comedy in general, work so well. Comedy is an art form that can make people see things in a different light while simultaneously making them laugh, and no period has done it better than the 2000s The overall tone of that era is just different from what it is now and even what it was before. We often hear the complaint “you can’t make jokes about anything anymore,” and yet, the 2000s produced a ton of comedies that don’t rely on offensive humour. In fact, many of those movies are still considered classics especially due to their clever handling of the sensitive subjects. With all that said, I want to celebrate the lost art of the 2000s comedy by singling out just some of my personal favourites. TALLADEGA NIGHTS: THE BALLAD OF RICKY BOBBY (2006) Unlike most comedic stars of the decade (collectively known as the Frat Pack), Will Ferrell has continued to headline comedies similar to the films that made him a star. However, his recent efforts haven’t had nearly the same financial or critical success. He’s best known for his work with writer-director Adam McKay, and their partnership includes Anchorman: The Legend of Ron Burgundy, Talladega Nights: The Ballad of Ricky Bobby, and Step Brothers . Now, there’s no denying the legacy of Ron Burgundy, but when I think of Ferrell’s man-child schtick mixed with McKay’s absurdist sensibilities, Talladega Nights: The Ballad of Ricky Bobby is the one I consider the best of their collaborations. Aside from the hilarious and quotable lines (“Shake and Bake!”), the film exemplifies absurdism comedy at its finest. It feels as if, in the universe of Talladega Nights , anything goes. One can birth a child by braking at 200 mph, a child can expertly steer a car through oncoming traffic, and a racecar driver can just leave in the middle of a race to eat a sandwich. Everything I just said happens within the first 10 minutes of the movie. Combine that absurdity with layered commentary on American exceptionalism and some impressive racing sequences, and you’ve got a memorable, laugh-out-loud comedy that takes you for one helluva ride! TROPIC THUNDER (2008) You’d be hard-pressed to find a more iconic action comedy from the 2000s than Tropic Thunder . Prominent Frat Pack member Ben Stiller directed, co-wrote, and led an all-star ensemble, including Jack Black, Jay Baruchel, Matthew McConaughey, Tom Cruise, and an Academy-Award-nominated Robert Downey, Jr., in this satirical movie about the lengths actors will go to for a good performance. Controversial, yet timeless, Tropic Thunder ’s memorable characters, extreme plot lines, and hysterical parody trailers that start the movie all contribute to a brilliant lampooning of the movie industry and the egotistical stars that populate it. Tropic Thunder has insane performances and meta-commentary locked and loaded for anyone trying to get some. BORAT: CULTURAL LEARNINGS OF AMERICA FOR MAKE BENEFIT GLORIOUS NATION OF KAZAKHSTAN (2006) Borat is simply a comedy sensation. Sacha Baron Cohen’s ingenious mockumentary sees him don the iconic moustache and suit to travel across America to interview unsuspecting citizens. Some of its humour can be viewed as offensive, but similar to Tropic Thunder , it’s all in service of a commentary on the casual ugliness of American culture, a culture that’s seemingly gotten worse according to its sequel, Borat Subsequent Moviefilm . Borat is the definition of a comedy classic, and I’m willing to bet top-dollar that you’ve uttered the phrase “Great success” or “My wife” in Borat’s iconic accent at least once. It’s an Academy-Award-nominated, box-office phenomenon that will be studied and examined for a long time. Very nice, indeed. SUPERBAD (2007) On the surface, Superbad may seem like another typical coming-of-age high school sex comedy. Two teenagers trying to lose their virginities before college is not something I would call unique. Yet, Superbad is an undeniable classic that has turned into maybe the quintessential high school comedy, launching the careers of Jonah Hill and Michael Cera in the process. What makes this film such a classic, beyond how funny and wild it is, is its relatability. Sure, certain extremes, like McLovin’s (Christopher Mintz-Plasse) “hanging with the the cops’” storyline, are just hysterical, but its heart is what makes this film work. The friendship between Hill’s Seth and Cera’s Evan in the face of complicated uncertainties makes for a quietly poignant story. KNOCKED UP (2007) I wouldn’t be able to forgive myself if I didn’t mention writer-director Judd Apatow at least once. Between The 40-Year-Old Virgin and Funny People , Apatow has carved a niche for relatable and mature rom-coms, and nowhere is that better illustrated than with Knocked Up . The one-night-stand-turned-lovers relationship between career-ambitious Allison Scott (Katherine Heigl) and slacker stoner Ben Stone (Seth Rogen) plays as real as you can imagine, giving this one some true depth. And while the heart is very much there, it’s a hilariously raunchy movie. Rogen’s interactions with his friends are a definite highlight, but so is the relationship between Paul Rudd and Leslie Mann, which launched a spinoff movie, This Is 40 . Bawdy and insightful at the same time, Knocked Up launched Rogen into stardom, and was both a critical and box-office hit. It continues to impress and guide filmmakers for what a rom-com can be. WEDDING CRASHERS (2005) While we’re on the subject of rom-coms, Wedding Crashers is a bizarrely simplistic one, yet it’s endlessly quotable and funny at the same time. Yes, it follows the “scumbag guys learn to love” plotline to a tee, and it begins and ends about as you expect, but it’s what happens in the middle that gives the film an identity of its own. Frat Pack members Owen Wilson and Vince Vaughn give this film a lot of crackling energy just by being themselves. The banter between them gives the movie much needed life, thanks to their rapid-fire dialogue and high joke-per-minute rate (with most jokes being improvised, I imagine). The chemistry between the two stars and the genuine feeling of romance that you can feel through the screen make Wedding Crashers a must-see rom-com for all fans. Bradley Cooper's borderline psychotic performance deserves an honourable mention as well. WALK HARD: THE DEWEY COX STORY (2007) Long before Bohemian Rhapsody and Elvis , we had Walk Hard: The Dewey Cox Story , a pitch-perfect parody of the musical biopic that expertly picks apart the tropes and cliches to hilarious results. John C. Reilly’s performance alone, which is silly yet purposefully melodramatic, makes this a memorable watch that sees the fictitious musician’s comically fast rise (his first song only takes 30 seconds to become a hit) and downfall done in flawless parody fashion. From the start, the movie is hilariously over the top, with one of the funniest and most shocking deaths I can remember. The songs are surprisingly catchy, and the entire cast is committed to the bit too. Walk Hard should be considered a classic, but it remains a true underrated gem. If you haven’t seen it yet, you definitely want a part of this shit. SHAUN OF THE DEAD (2004) I’d love to put both of Edgar Wright’s comedy classics from the 2000s in here, but I didn’t want my bias for one of my favourite directors to show. Even still, Shaun of the Dead is a masterclass of horror comedy and hyper-stylized humour. Wright’s sensibilities for frenetic editing and witty comedy make his take on the zombie genre a truly one-of-a-kind experience. Hyper gore, needle drops, and visual gags galore, Shaun of the Dead is a terrific part one to what would turn out to be the Three Flavours Cornetto Trilogy, also consisting of Hot Fuzz and The World’s End . Even if you’re not a big horror fan, Shaun of the Dead is an endlessly endearing film for anyone to enjoy. SCHOOL OF ROCK (2003) I would be remiss if I didn’t mention at least one Jack Black star vehicle, and if I’m being honest, School of Rock was an easy choice. Even when a film isn’t great (or even good for that matter), Jack Black’s complete commitment to character elevates the film. So, imagine what happens when the material is already great to begin with, as it is with this film. Black’s too-cool-for-school insanity makes for a surprisingly lovely film featuring a fun and colourful cast of child actors giving endearing performances that almost match Black’s… Jack Black-ness. But beyond Black, School of Rock is endlessly hilarious and weirdly inspiring in its own weird way. You’ll surely want to rock on after watching this. MEAN GIRLS (2004) I’m just gonna say it: Mean Girls is not fetch. Or maybe it is. I’m still not totally sure what it means. Either way, beyond Mean Girls ’ quotability and overall message, it has remained a comedy staple for nearly two decades due to the comedic sensibilities of Tina Fey, which, when mixed with the themes of the film, creates something that makes it hard to hold in laughter. The ensemble is hysterical, featuring an inspired comedic turn from Lindsay Lohan and iconic performances from Rachel McAdams, Amanda Seyfried, and Lacey Chabert. For the time it came out, the film’s refreshingly female-focused high school story made for a fresh take on the genre, and its impact has only elevated over time through meme culture and analysis. Pretty grool, if you ask me.

SUITS LA Starring: Stephen Amell, Josh McDermitt, Lex Scott Davis, Bryan Greenberg, Rachelle Goulding, Maggie Grace, Troy Winbush, Carson A. Egan, Azita Ghanizada, Alice Lee, and Matt Letscher Creator: Aaron Korsh NICK It's fitting that Suits LA uses sports to connect to the original series, as it feels like it spends the entire time playing from behind. I could go on about the ways it pales in comparison to Suits , but honestly, this isn’t even a very good series on its own accord. Its quality is inconsistent, it focuses way too heavily on flashbacks, and its characters are kind of bland. This is especially obvious when original cast members Gabriel Macht (Harvey Specter) and Rick Hoffman (Louis Litt) show up. With its streaming revival, the Suits momentum was strong, but it seems Suits LA has extinguished that.

Previous Next September 11, 2023 WRITTEN BY: QUENTIN With the closing ceremonies of the 80th Venice Film Festival taking place over the weekend, it’s easy to say that it’s another great festival in the books for Bitesize Breakdown. Unfortunately, due to travel dates, I was unable to see everything I wanted to, namely missing out on Memory , starring Jessica Chastain and Peter Sarsgaard; J.A. Bayona’s Society of the Snow ; and Ryusuke Hamaguchi’s Evil Does Not Exist . That said, I still managed to watch 27 new releases, a restored version of William Friedkin’s classic The Exorcist , and eight VR-driven short films and installations on Immersive Island. All in all, it was a terrific but slightly exhausting time, and I look forward to doing it again next year. Until then, check out everything I saw during my time on The Lido, ranked, as well as a list of the major award winners. Golden Lion for Best Film : Poor Things Grand Jury Prize : Evil Does Not Exist Silver Lion for Best Director : Matteo Garrone, Me Captain Special Jury Prize : Green Border Best Screenplay : El Conde Volpi Cup for Best Actress : Cailee Spaeny, Priscilla Volpi Cup for Best Actor : Peter Sarsgaard, Memory Marcello Mastroianni Award for Best Young Actor : Seydou Sarr, Me Captain 27. AGGRO DR1FT Without hyperbole, Aggro Dr1ft is not only one of the worst movies I’ve ever seen, it is among the worst pieces of content I’ve seen on any screen ever. It is so bad that if you told me director Harmony Korine made this movie terrible on purpose as a social experiment to troll pretentious film festival attendees in Toronto, Venice, and New York (yes, it’s screening at all three major festivals), I’d believe you. From the awful sound mixing to the challenging infrared gimmick to the mundane monologues, it's almost immediately exhausting before continuing on for what feels like an interminable 80 minutes. 26. THE WONDERFUL STORY OF HENRY SUGAR Full disclosure: I’m not a Wes Anderson fan. I find his work to be style over substance, resting entirely on his personal brand of twee whimsy, candy-colored pastels, and hipster aesthetics. So, it should come as no surprise when I say that I hated The Wonderful Story of Henry Sugar . Even at just 38 minutes, it was painful to endure. The actors don’t so much give performances as they are reading Roald Dahl’s story to you, acting it out in the way you might act out a bedtime story for your kids, while Anderson bludgeons you to death with his trademark style. 25. GASOLINE RAINBOW Maybe it’s the old curmudgeon in me, or maybe it’s that this movie incorporates so many film elements that I actively do not enjoy, but Gasoline Rainbow was a 110-minute endurance test. It’s a fake documentary that is shot in a meandering and improvisational style, featuring a cast of first-time, non-professional teenage actors playing themselves. I hate all those things. Now, this is where the age aspect comes in: do I think all teenagers are annoying? Or just these teenagers? Hard to say, but every dumb thing they said and every dumb decision they made grated on me. I couldn’t leave the theatre fast enough. 24. PET SHOP DAYS Described as a mystery thriller, Pet Shop Days provides little in the form of intriguing mysteries or engaging thrills. It’s a derivative story of terrible people doing criminal things, and of a lost twentysomething finding himself through his relationship with the bad boy. On top of that, the characters are woefully underdeveloped and extremely unlikeable, not to mention that there are several half-baked subplots that don’t add anything substantive. Aside from Willem Dafoe, who is the only person who comes out unscathed, almost everything…from the performances to the direction to the writing…is unsteady. 23. THE RESCUE This review is possibly a little unfair. The Rescue , aka El Rapto , was my thirteenth screening over the course of three days, and it’s a very slow-moving, dialogue-driven, Spanish-language drama set in the 1980s. With that in mind, even at only 90ish minutes, I struggled to maintain any semblance of interest in this movie. I didn’t find the dry story or characters compelling, and I was mostly just waiting for it to end. The acting is fine, I guess, but that’s not exactly an endorsement. So, are my feelings based on the context of the situation or the movie itself? I’ll let you decide. 22. THE BEAST The Beast is the type of film that the snootiest of film critics will call a “must see” while regular people find themselves bored out of their minds. It’s big on ideas and, I suppose, it has decent performances, but it’s extremely lifeless, failing to truly engage the audience due to its somewhat confusing and labyrinthine story. It has elements of Eternal Sunshine of the Spotless Mind , Black Mirror , and classic French romance films, but they never coalesce into something worthy of the effort it takes to fully get on board. It’s not unlike a David Lynch movie in that regard. 21. THE PALACE Controversy surrounding director Roman Polanski aside, The Palace isn’t a very good movie (though, I do think the buzz is overly critical precisely because it is a Polanski picture). He’s clearly going for a satire on the wealthy, combining the commentary of Triangle of Sadness with the day-in-the-life story structure of Hail, Caesar! , but despite a few clever joke setups, they never actually come with a punchline. So, you’re left watching a collection of underwritten characters in undercooked situations, waiting for the other shoe to drop. It never does. 20. EL CONDE In its entirety, El Conde isn’t a movie that I enjoyed. Despite the intriguing and outlandish logline, it’s surprisingly boring, but it’s possible that it works better for people who have some knowledge of former Chilean dictator Augusto Pinochet, of which I have very little. Perhaps that is why the satire didn’t hit for me. That said, director Pablo Larrain was able to create a surreal and haunting atmosphere that is well suited to the content, but this mix of Knives Out and Roma falls into the “movies I respect more than like” bucket. 19. THE PENITENT - A RATIONAL MAN While the oddly titled The Penitent – A Rational Man wrestles with philosophical and often interesting questions about religion, the legal system, mental health, psychiatry, and the press, David Mamet’s screenplay is so preachy and the dialogue so circular and repetitive that it becomes tedious to watch. Further exacerbating that problem is a penchant for over-acting, especially from Luca Barbareschi (who also directed) and Catherine McCormack. All in all, I think between all the big ideas Mamet wants to address, as well as having the lead actor also be the director, it simply tries to do too much. 18. THE FEATHERWEIGHT Personally, I’m not a fan of the fake documentary approach to filmmaking, and while I appreciate Robert Kolodny’s effort to make an earnest faux documentary (not mockumentary), The Featherweight lacks the narrative punchiness to last the whole fight. From a technical viewpoint, there is little to find fault in. The performances serve the format well, and Kolodny’s ability to make it feel like a genuine documentary from the 60s is remarkable. However, the constraints of the genre make it incredibly dry and limit the dramatic heft. There is certainly an interesting story here, but I would have much rather seen it as a standard biopic. 17. IN THE LAND OF SAINTS AND SINNERS Although it’s nice to see Liam Neeson kinda sorta step away from his usual parade of cheap action thrillers, In the Land of Saints and Sinners is undone by the fact that it has two competing and underdeveloped storylines. Both stories have interesting aspects, and had the movie chosen to focus on one, it could have worked really well for a number of reasons. However, as is, it’s a slow-moving thriller that is low on thrills, probably destined to be released directly on a streaming service. To its credit, though, Kerry Condon is fiery and fierce. The movie could have used more of her. 16. MICHEL GONDRY, DO IT YOURSELF While I found Do it Yourself to be an enlightening look into the methods and mind of visionary director Michel Gondry, this documentary is probably best left for those who are already fans of the filmmaker. There are no shocking revelations or lurid details, just the portrait of an artist who has made some of the most creative music videos and movies around. Seeing his interactions with collaborators Jack White and Spike Jonze is charming, and it’s a loving tribute overall, but more than anything, it made me want to rewatch Be Kind Rewind and old videos from The White Stripes, which isn’t a terrible takeaway. 15. ORIGIN Despite being well acted and delivering thoughtful commentaries on racism, caste systems, and personal grief, Origin is as dry as a college lecture. Nothing about Ava DuVernay’s direction is bad, but it’s not particularly dynamic either. It’s not her fault, though. The message is certainly important and, from a scholarly perspective, incredibly fascinating, but it’s not built for a feature length narrative. This would have been much better and perhaps more impactful as a documentary because, as is, it’s like watching someone act out a doctoral thesis paper. Personally, I can’t say I enjoy movies that feel like homework. 14. THANK YOU VERY MUCH Documentaries on well-covered subjects can be tricky because they need to find a new angle to explore and its own reason for existing. Having already seen two Andy Kaufman documentaries, as well as the terrific biopic Man on the Moon , I wasn’t sure I needed another dive into Kaufman lore. However, in what should be the definitive doc on the comedian, director Alex Braverman manages to provide additional insights, mostly through new interviews and archival footage, while also not beating a dead horse on things covered in the other documentaries. Was it necessary? Debatable. Is it enjoyable? Very much so, even winning best documentary at the festival. 13. FINALLY DAWN As a person who likes movies about movies, Finally Dawn , while not perfect, worked well enough to keep me engaged throughout. Mixing a coming-of-age story with some light Hitchcockian menace, Babylon , and an old-world Italian cinema vibe sounds like a lot, but newcomer Rebecca Antonaci (with the help of Lily James, Willem Dafoe, and Joe Keery, no doubt) holds it all together with a great performance at the center of the story. That said, given that there is a constant air of escalating tension inherent to the proceedings, the ending is extremely underwhelming, fizzling out as if writer-director Saverio Costanzo simply ran out of ideas. 12. FERRARI While not a bad movie by any means, Ferrari never makes a case to justify its existence. Yes, from a craft perspective, it’s obviously very well done, from Michael Mann’s direction to the performances of Adam Driver and Penelope Cruz; however, the main story is about a man that isn’t particularly interesting. Enzo Ferrari (Driver) is never shown to be a ruthless tyrant, a savvy businessman, or a brilliant car designer. He’s just a dude who has marital problems. Ferrari is only truly compelling during the too few race sequences, which are beautiful and picturesque (two scenes in particular elicited audible gasps from the audience). 11. HOLLYWOODGATE As a veteran who has many connections to the U.S.’s War on Terror, Hollywoodgate is an eye-opening documentary that is equal parts maddening, frustrating, enlightening, and even comical. Director Ibrahim Nash’at shows incredible restraint by not interjecting his own views, letting the Taliban be their own voice, and they often shoot themselves in the foot despite their best attempts to make themselves look civilized. It’s simple but effective, and it opens the door to hard questions and harsh realities about Afghanistan, the Taliban, and the U.S.’s decades long occupation, the most important of which is this: what was the point? 10. THE PROMISED LAND Let me tell you how good of an actor Mads Mikkelsen is: For more than two hours, this man had me fully engaged in a Danish-language period piece about a guy trying to grow potatoes on a piece of land deemed unfarmable. Granted, the sturdy screenplay, sweeping visuals, and Nikolaj Arcel’s confident direction help him along, but I’m not sure this movie succeeds with anyone other than Mikkelsen at the center of it. This is a grown-up film for grown-ups, reminiscent of Minari in some ways, and it feels tailor-made for the prestigious film festival circuit. 9. DOGMAN Although Dogman has some elements that will make you unintentionally chuckle at their ridiculousness (mostly in the interactions between man and dog), director Luc Besson’s latest is a gritty and grimy tale of trauma, violence, and ultimately redemption…something of a mix between Joker and Dr. Dolittle . Despite a story that is a little schizophrenic, it’s easily the best work Besson has delivered in decades, and he owes it all to the terrific performance of Caleb Landry Jones. Jones is captivating in a role that requires him to be equal parts heartbreaking and fearsome, and although he won’t get it, his work here deserves recognition. 8. THE CAINE MUTINY COURT-MARTIAL Though not flashy, The Caine Mutiny Court-Martial is a thoroughly engaging courtroom drama. Presented like a single-room stage play, it’s content to simply let its actors do what they do best: act. It asks interesting questions about military rank structure, the uniform code of military justice, and the ramifications of decisions made by those in command through the various testimonies, which allows viewers to draw their own conclusions about the case at hand. Given that it was directed by William Friedkin, it’s no surprise that this stripped-down version of A Few Good Men is old school movie making at its finest. 7. HUMANIST VAMPIRE SEEKING CONSENTING SUICIDAL PERSON When people talk about discovering hidden gems at film festivals, Humanist Vampire Seeking Consenting Suicidal Person is exactly what they are talking about. The most authentically indie-feeling movie at Venice Film Festival, Humanist Vampire puts a modern spin on vampire mythology to deliver a fresh, funny, and darkly sweet coming-of-age story that touches on familial pressure, adolescent expectations, teen depression, and young love. In the Q&A that followed my screening, director Ariane Louis-Seize (who won the GdA Director’s Award) referenced Let the Right One in and Lady Bird as some of her inspirations for this movie, and I can’t sum it up any better than that. 6. DAY OF THE FIGHT Day of the Fight was the biggest surprise of Venice Film Festival for me. I had zero expectations going in because, honestly, the cast (outside of Joe Pesci) and a first-time director didn’t inspire a ton of excitement. That said, this movie is beautifully done. It’s shot in crisp black & white and is carried on the heartbreaking shoulders of Michael C. Pitt, who gives a tremendous performance. It’s a boxing movie, so there are some predictable story beats, but it doesn’t play out 100% as expected, and the catharsis delivered through Mikey’s (Pitt) journey is well earned. Writer-director Jack Huston is one to watch. 5. PRISCILLA Although it drags a bit in the middle (and I admit a proclivity to liking almost all things related to Elvis Presley), Priscilla is easily director Sofia Coppola’s finest film to date. By flipping the script to tell the other half of the story, we come to learn more about the, at times, beautiful but often troublesome relationship between Priscilla (Cailee Spaeny) and The King (Jacob Elordi). It’s obviously more subtle, empathetic, and sensitive than last year’s Elvis , but no less affecting as it paints an honest portrait of young love, insecurities, and seeing your way through to the other side. 4. THE KILLER With only his second movie since 2014’s Gone Girl , director David Fincher returns to his dark thriller roots with the noirish The Killer , a lean assassin flick that pairs the slick planning sequences usually seen in heist movies with the deliberate tone and methodical pacing of Mindhunter . A tightly written revenge story, it features a dryly funny Michael Fassbender as he delivers Dexter -style monologues about how to be a successful assassin. Even if it is relatively straightforward, especially by Fincher standards, it’s no less compelling than some of Fincher’s best works, landing in the top tier of Netflix Originals. 3. MAESTRO Truth be told, I had little interest in Maestro since I have no personal connection to Leonard Bernstein. Even as the movie began, I was unsure about it for the first 20-30 minutes. However, credit given where credit is due: it’s exquisite. Bradley Cooper disappears into the role of Bernstein so deeply that you often forget you’re watching an actor, and he’s matched beat-for-beat by Carey Mulligan. Maestro is certainly more of a “film” than a “movie,” so I’m not sure how well the general public will take to it, but for me, this is another win for Cooper both in front of and behind the camera. 2. HIT MAN Further proving what most people noticed in Top Gun: Maverick , Hit Man reiterates that Glen Powell is a bonafide star as he nimbly bounces between different personas in what may end up as the best pure comedy of the year. Director Richard Linklater, who has already directed several classics, gifts us another one with an effervescent romance crime movie that is dark, hilarious, intelligent, and charming all at the same time. Yes, it’s a sort of rom-com, but it maintains razor sharp edges, refusing to fall down the well of cliché and cheesy genre tropes. It’s like Linklater’s version of a Coen Brothers movie. 1. POOR THINGS Poor Things is a hilariously dark and incredibly horny fairy tale oddity that is deserving of every award it is sure to win this year. The world created by director Yorgos Lanthimos is gorgeously brought to life through powerhouse performances from the entire cast, but especially Emma Stone and Mark Ruffalo in career-best showings. On top of that, themes of feminism and self-discovery, as well as a commentary on the patriarchy, are executed brilliantly. It’s unlike anything I’ve ever seen, it’s near perfect, and is easily the best movie of the year so far. Photo Credits: Venice International Film Festival

Previous Next The Bitesize crew has put their brains together to compile Bitesize Breakdown's consensus Top Five Streaming Service Series. Each writer ranks his or her top 15 shows in the category. Those lists are then weighted on a reverse point system. After all the points are tallied up, the entries with the most total points make up the Bitesize Top Five. 5. THE MANDALORIAN Even casual Star Wars fans have to admit that the mixture of cool and cute from the duo that is Mando (Pedro Pascal) and Grogu is something to behold. Add in an undeniably iconic Ludwig Göransson score and an all-star rotation of directors, and you get one of the most entertaining franchise series of the past decade. As they say, “This is the way.” - Amarú 4. STRANGER THINGS When people think of Netflix original series, Stranger Things is probably what comes to mind first. It’s filled with an terrific 80s nostalgia, a total mood that really comes through with the combination of The Goonies and Stephen King novels. All the necessary 80s sci-fi ingredients are here: great friendships, spooky woods, walkie-talkies, crackling phone lines, spirits communicating through electricity, and, of course, The Upside Down. It’s Netflix’s best show to date! - Paige 3. THE BOYS In what could have been nothing more than a raunchy superhero show, The Boys is somehow one of the most complex and smartest shows currently on streaming. It uses our current superhero-obsessed culture to tell an ultra-violent yet grounded satire featuring very complex characters and serious emotional depth. - Adriano 2. WANDAVISION WandaVision was a solid start to the MCU's evergrowing slate of shows. Its weekly format allowed for great theory-crafting amongst fans, whilst the sitcom-style episodes allowed TV fanatics to relive their favourite shows. However, it's the beautiful character work for Wanda Maximoff (Elizabeth Olsen) that really allows this show to shine, aptly displaying the effects that grief, loss, and trauma have had on her. - Joseph 1. TED LASSO If you didn't think that Ted Lasso was going to be #1, well then, you just didn't Believe. One of the most feel good series to come out in the past decade, it features an excellent cast, terrific writing, and humour for all ages. This series deserves its place atop every like-minded list. - Nick HONORABLE MENTIONS BOJACK HORSEMAN PEACEMAKER THE QUEEN'S GAMBIT MINDHUNTER WHEN THEY SEE US Photo Credits: Photo 1, 4 - Disney+; Photo 2 - Netflix; Photo 3 - Prime Video; Photo 5 - Apple TV+

I LOVE LA: SEASON ONE Starring: Rachel Sennott, Odessa A’zion, True Whitaker, Jordan Firstman, and Josh Hutcherson Creator: Rachel Sennott PAIGE I Love LA is this generation's Girls and Sex and the City with a sprinkle of Entourage . Creator Rachel Sennott confidently crafted an absurd, witty series anchored by an ensemble that beams with energy. It’s a fun hangout show that mirrors internet and influencer culture all too well. Is it a bit shallow? Sure, but when you dig into the weeds of the show, it works because that’s kind of how L.A. is depicted in this modern era. It’s a show for the haters and the dreamers alike who enjoy utter chaos. KATIE I Love LA is like the cynical 2020s answer to Girls and Sex and the City before that. I love Rachel Sennott; she’s a rare and unique blend of a genuinely funny, smart, internet-savvy comedian with a talented performer. Like the protagonists of those shows, Maia (Sennott) is both endearing and absolutely insufferable. Whilst it’s far from relatable since it focuses on a very specific L.A. lifestyle that’s detached from the real world, I empathised with Maia’s very first-world struggles whilst also hating her decisions. Overall, the script is witty and darkly funny, and the ensemble cast is hilarious.

BREEDERS: THE FINAL SEASON Starring: Martin Freeman, Daisy Haggard, Oscar Kennedy, Zoë Athena, Alun Armstrong, and Joanna Bacon Creators: Martin Freeman, Chris Addison, and Simon Blackwell QUENTIN In its fourth and final season (sadly, another great show ending this year), Breeders continues to be the best exploration of a multi-generational family on television, succeeding at being everything Modern Family wished it was. This year, we get another time jump, which means Paul (Martin Freeman) and Ally’s (Daisy Haggard) kids, who were grade-schoolers in Season One, are now on the verge of adulthood. This was the perfect approach for the final season, as it brings many of the series’ themes full circle, really driving home the point that “breeders” are how the whole darned human comedy keeps perpetuating itself. I’ll miss The Worsleys.

MAYFAIR WITCHES: SEASON ONE Starring: Alexandra Daddario, Tongayi Chirisa, Jack Huston, and Harry Hamlin Creators: Michelle Ashford and Esta Spalding QUENTIN After a successful start to Anne Rice’s Immortal Universe with Interview with the Vampire , I had relatively optimistic hopes for AMC’s interconnected gothic horror franchise. Sadly, despite an always alluring Alexandra Daddario, Mayfair Witches just isn’t very…well…bewitching (I’m so sorry). It moves along at a snail’s pace, never fully developing the villain, the lore, the mythology, or characters outside of Rowan (Daddario). I suppose this could be by design, in effect having the viewer make discoveries alongside Rowan as she learns about her heritage, but it just fails to cast a spell (again, sorry). Even the washed-out color palette robs it of any magic.

TALES FROM THE WOODS: SEASON ONE Starring: Zolee Griggs, Miles Robbins, Dylan Gelula, Justin Benson, Aaron Moorhead, Sonedala Sihavong, Phonesavanh "Tata" Phimpha, Gabriel Soutphilabaideng, and Sivilay Ouanephongchareune Creator: John Hegeman QUENTIN If the three episodes provided for review are any indication, Tales from the Woods is an interesting idea undone by lackluster execution. Each episode is based on a classic fairy tale (“Sleeping Beauty,” “Cinderella”), and while I appreciate that the individual filmmakers (including frequent Marvel Television collaborators Justin Benson and Aaron Moorhead with “Jacques the Giant Slayer”) take big horror swings to expand the oft-told stories, the barely 20-minute runtimes simply don’t give them enough time to fully develop their outside-the-box takes. It’s possible future episodes will get better, but this anthology is off to a rough start. KATIE Based on classic fairytales “Sleeping Beauty,” “Jack and the Beanstalk,” and “Cinderella,” Tales from the Woods ’ first three episodes has some solid foundations to build on. This is why I was so disappointed by two of the takes on these stories, which are primed for interesting and unsettling interpretations. “The Sleeping Beauty" is okay, but feels like a TV movie and lacks the runtime to develop the plot. I enjoyed “Jacques the Giant Slayer” because it's weird, compelling, and full of grotesque visuals. Unfortunately, “Cinderella” is unbearable, a girl-boss take on the fairytale that made me cringe rather than cower.

THE PERIPHERAL: SEASON ONE Starring: Chloë Grace Moretz, Jack Reynor, Gary Carr, Eli Goree, Louis Herthum, JJ Feild, T’Nia Miller, Charlotte Riley, Katie Leung, and Melinda Page Hamilton Creator: Scott B. Smith QUENTIN Despite a captivating pilot, The Peripheral fails to capitalize on its instantly intriguing setup, instead falling down poorly explained rabbit holes concerning alternate realities, conspiracies, heady sci-fi ideals, and terrible southern accents. With that in mind, it shouldn’t be surprising that it comes from the people behind Westworld (namely, executive producers Lisa Joy and Jonathan Nolan). Much like Westworld , there probably is a good show in here somewhere, but the writers are too busy trying to be clever and cerebral to let it breathe. I suppose the book on which it’s based could be to blame, but either way, it’s not worth the effort.

THE RIGHTEOUS GEMSTONES: SEASON TWO Starring: Danny McBride, John Goodman, Adam Devine, Edi Patterson, Tony Cavalero, Cassidy Freeman, Skyler Gisondo, Walton Goggins, Gregory Alan Williams, Tim Baltz, Jennifer Nettles, Eric André, and Eric Roberts Creator: Danny McBride QUENTIN Mixing the dysfunctional family dynamics of Succession with the vulgar comedy of Eastbound & Down , The Righteous Gemstones is a hilarious takedown of those who preach the gospel while being absolutely terrible people. This season’s plot doesn’t always come together as perfectly as the first season’s, but this is a series built more on cast chemistry and raunchy banter than the actual story. And while it’s very much a Danny McBride vehicle, the entire ensemble complement each other flawlessly to create characters that are absurdly over the top yet still relatable. It remains one of the funniest shows on television.

THE BOOK OF BOBA FETT Starring: Temuera Morrison, Ming-Na Wen, and Pedro Pascal Creator: Jon Favreau NICK The Book of Boba Fett may be seven episodes long, but it’s really made up of three different chapters. Those chapters (the flashbacks of how we got here, Fett's (Temuera Morrison) modern day crime lord, and the continuation of the Mandalorian/Grogu story) work well individually, but as a whole, they make for an unbalanced series. Although I found episodes five and six to be the best of the season, they’re a complete departure from the other entries. An argument can be made to watch episodes one to four and skip directly to seven if you want optimal viewing of Boba Fett's story. AMARÚ If you wish there was more Boba in The Book of Boba Fett , I don’t blame you. But when I realized that executive producers Jon Favreau and Dave Filoni are now in the Star-Wars -is-a-wholly-connected-universe business, I was fully sold. We get long-awaited answers about post-Episode V Boba (played soulfully by Temuera Morrison), at least two episodes of the best Star Wars content I’ve consumed this past decade, and a finale that left me salivating over whatever the next season of Disney+’s Favreau World is. Or is it the Filoniverse?? Either way…I’m here for it. JAMES Temuera Morrison comes to mind first when I think of Star Wars because, of all the actors in this universe, he was the most active in media beyond the films. It's incredibly thrilling to see one of my favourite actors front and center in the franchise that brought him to my attention. While I do wish Morrison had a chance to show a bit more of his range, I feel this season is a strong jumping off point for an exciting, character-driven series. Part samurai epic, part western, and part crime drama, this show blends genres beautifully. QUENTIN The Book of Boba Fett is three shows in one: 1. a thematically rich (if familiar) flashback story about Fett’s (Temuera Morrison) time following his escape from the Sarlacc pit; 2. A half-baked, fan-service-filled story about Fett becoming an underworld boss; and 3. The Mandalorian , Season 2.5. These three shows do not mesh well enough narratively to justify the series’ existence, and Morrison’s flat performance certainly doesn’t help. That said, the action is on par for the franchise and the show is mostly entertaining, but it does little to expand and push the Star Wars universe forward in interesting ways.

Previous Next As we approach 2025 and the end of the 21st century’s first quarter, we wanted to look back to see which actors, actresses, directors, and movies have stood the test of time. With that in mind, for the rest of the year, the Bitesize Top Five will be giving a consensus view on what we think are the Bests of everything since 2000. We are only looking at work released since January 1, 2000, so don’t get mad because your favourites of the 90s didn’t make it. As always, each writer ranks his or her top 15 in the category. Those lists are then weighted on a reverse point system. After all the points are tallied up, the entries with the most total points make up the Bitesize Top Five. 5. MONSTERS, INC. In my opinion, Monsters, Inc. is still one of the best animated films to date. It's a delightful film that is full of heart, humor, and imagination. The animation in the film is outstanding and inventive, and the characters are all completely unique, possessing remarkable personalities and development. With its well-developed main characters, Mike Wazowski (Billy Crystal) and James P. Sullivan, aka "Sulley" (John Goodman), its creative and fascinating world-building, and endearing plot, Monsters, Inc. raises the bar when it comes to creativity. It also leaves viewers with a powerful message: do not be scared to face your fears. - Paige 4. SHREK It really is surprising that Shrek made it out of the development stage. You have an animated film centered around an ugly ogre who burps and farts his way through life alongside a codependent donkey, and they're voiced by comedians known for Austin Powers and Raw respectively. That said, they caught lightning in a bottle because this movie works on all fronts. There are jokes for all ages, nostalgia from the inclusion of fairytale characters, and surprisingly great world building. Although the sequels aren't quite as flawless, people are still clamoring for more. Shrek (Mike Myers) and Donkey (Eddie Murphy) have become two of the most iconic animated characters ever, and they did it without the banner of Disney or Pixar. Pretty impressive. - Nick 3. TOY STORY 3 If you wanna talk about a film that set the standard for what an animated movie can be, look no further than Toy Story 3 . The third animated film in history to receive a Best Picture nomination, Toy Story 3 is the best of the historic franchise, and a movie that only seems to be more respected as time goes on. As fun as the adventure is, Toy Story 3 is exceptional because of its mature approach to moving on and allowing your loved ones to go on without you, and it does it in ways that never fail to get tears out of my eyes. I can keep going, but at this rate, there's not much new I can say about this movie. It's just perfect. - Adriano 2. THE INCREDIBLES Although we may be getting the true live-action version in the next couple of years, the perfect Fantastic Four movie has already been released. The Incredibles is not only one of the best animated movies of the century, but also one of the best superhero movies ever made. From its docu-style opening to its intelligently self-aware script to the absolutely top-notch voice acting (did you know that director Brad Bird voiced your favorite superhero costume designer Edna Mode?!?), every hilarious, heartfelt, and action-packed moment of this fantastic film gives each member of the Parr family…and every side character, to be honest…a chance to shine both together and individually. Vibrant animation, great characters, dynamic pacing, and superb action all come together to make me never get tired of asking “WHERE’S. MY. SUPER SUIT!?!” - Amarú 1. SPIDER-MAN: INTO THE SPIDER-VERSE Full disclosure, I’ve kinda grown out of liking animated movies. It’s not that there aren’t good ones out there, but more the fact that there are just a lot of lazy ones, which makes it hard to separate the wheat from the chaff. With that said, when one breaks through for me, it really breaks through, and no such animated movie has broken through in the way that the Spider-Verse movies have. They are near perfect on every level, delivering poignancy, heart, action, metaness, relatability, humor, terrific vocal performances, countless Easter Eggs, banging soundtracks, and groundbreaking animation for everyone from the youngest and most optimistic superhero fan to old surly cynics like myself. Not only has this franchise delivered two of the best animated movies this century, both Into the Spider-Verse and Across the Spider-Verse are two of the best overall movies of the last 25 years, full stop. - Quentin HONORABLE MENTIONS INSIDE OUT FINDING NEMO RATATOUILLE THE MITCHELLS VS. THE MACHINES GUILLERMO DEL TORO'S PINOCCHIO